Vincenzo Calestani is certainly listed as an obscure Italian vocal composer, but his slim set of surviving functions contains a few of the most appealing and formally interesting music of that time period. Almost nothing is well known of his lifestyle. If he was linked to a Girolamo Calestani, another Lucca-born author of the time, can be unestablished. It really is known that he was a music vocalist and accompanist to Isabella Mastiani, an associate of a respected category of Pisa, because he stated therefore in the preface to his one known publication, a reserve of madrigals and arias for just one or two voices and continuo. The quantity gives reason to believe that he was from the Knights of St. Stephens, and he was most likely also from the Medici courtroom for some reason. His publication of madrigals (released in 1617 as well as the will last documents of Calestani’s lifestyle) contains 28 functions by himself. One of these, Arde, misera, il primary, is usually cited as an excellent exemplory case of the single madrigal. Calestani published exquisitely applied adornments to his vocal lines, used well-known dance rhythms to his composing, and formed the music into satisfying formal designs including, in the strophic tunes, ritornellos that are variants on the primary themes. His most widely known track is usually Damifella, Tutta bells, with an extraordinary hemiola and unusually sensuous and advanced qualities for enough time.